(This essay first appeared in the Anderson Valley Advertiser March 2011)
“More relative than this—the play’s the thing
Wherein I’ll catch the conscience of the King.” William Shakespeare
Yes, it will only be a staged reading in a tiny theater on the fringes of civilization, but I feel like my play Milo & Angel is about to open on Broadway. And you’re invited! When I was sixteen years old, I decided to try to make my way as a playwright and actor amidst the roar of the greasepaint and the smell of the crowd, but other scenarios intervened, other roads were taken, and all the plays I wrote remained hidden from public view.
True, the actors will be sitting in chairs and holding scripts as they perform, and they will only have rehearsed a few times under the inspired guidance of Sandra Hawthorne, but they will be on a real stage in a real theater (not a living room or a café) imbuing my lines with character. What an amazing process it has been so far, the blessed night still to come—April 13, a Wednesday evening at 7 PM at the Helen Schoeni Theater at the Mendocino Art Center—mark your calendars.
“If you cannot get rid of the family skeleton, you may as well make it dance.” George Bernard Shaw
I wrote the first act of Milo & Angel in 2005, the year before my father died. The moment the play began to speak itself, I knew it would be both homage to my father and an attempt to exorcise his terrible power over me. Thus I was not surprised when my muse fell silent at the conclusion of Act I, for my father was still alive and I was not sufficiently free of his influence to reveal the darker story I knew Act Two must contain.
Then a few months before my father died, when I knew his death was imminent, I concocted a second act. But a poem or a story or a play that I consciously invent, rarely rings true for me; so the truth of this play, the tender truth, remained waiting in the wings, waiting for my father to die before she felt safe enough to emerge and speak her lines.
“Truth is truth, to the end of reckoning.” William Shakespeare
In 2007, my second year in Mendocino, I completed a draft of Milo & Angel that I felt was good enough to send out to the tiny number of theater companies in America who at least pretend to consider plays from writers without agents or influential friends; and this I did. I received a few kindly rejections and little else. I also gave copies to people connected to the Mendocino Theater Company, but got no response from any of them. So my ninth play seemed destined to suffer the same fate as my previous eight.
Then I gave a copy to Kathy Mooney, my friend and counselor, and she shared the play with Valerie McMillan who oversees play readings at the Mendocino Theater Company, and Valerie gave the play to Sandra Hawthorne, and after a time it was decided that Milo & Angel would be one of the plays in this year’s reading series. And I tell you honestly, I am as excited about having my play read in front of an audience—I hope you’ll come—than I was when they made a major motion picture out of my first novel.
Sandra took the helm, as it were, and from the pool of available and willing actors hereabouts cast the six parts. As of this writing, we have had three rehearsals, the cast has changed three times, I have rewritten the play with Sandra’s guidance four times (some scenes seven or eight times), and we only have two more rehearsals until the blessed night befalls us.
The cast members, barring further changes, are Alena Guest, Ruby Belle, Garth Hagerman, Todd Walton, David Woolis, and Julie Burns. I am told that such staged readings hereabouts usually only require of the actors two rehearsals, and this one will have five, so I intend to shower these generous volunteers with gifts (when I see who is still standing at the end.)
“The theater is so endlessly fascinating because it’s so accidental. It’s so much like life.” Arthur Miller
The most exciting aspect of this process so far has been conferring with Sandra after each rehearsal, when the flaws in rhythm and flow, and in my choices of words, are still fresh in our minds, and then figuring out how to fix the problems. With each new draft, the play improves and the emotional content deepens; and if the entire cast quits tomorrow and the reading never happens, I will have been the beneficiary of a priceless collaboration.
I have a long and mostly unsuccessful history of creative collaboration, which is why nowadays I mostly work alone. My more successful collaborations have been with women, whereas the old maxim Never Go Into Business With A Friend rings true as a summation for all but a few of my collaborations with male friends. And what is far more interesting to me than why those attempts at collaboration failed is why I continue to try to collaborate after so many dismal failures.
Having recently had a marvelous musical collaboration with my cellist wife Marcia, and now this excellent writing collaboration with Sandra Hawthorne, I am sorely tempted to say that the problem lies with men. However, I am a man, so perhaps it would be truer to say that the problem lies with me in relation to other men, which brings us, inevitably, to my father, my first and foremost male role model with whom collaboration of any kind was out of the question because he despised everything I loved and thought everything anybody else said about anything was stupid and wrong. Hmm.
I think the rehearsals we’ve had of Milo & Angel—actors sitting around Sandra’s commodious dining table—would make a wonderful basis for a play: people shifting out of their public personas into their characters in the play, their play characters changing as the playwright and director give them feedback, which changes in their play characters impact their public personas—characters quitting, switching parts, new actors coming in and interpreting their characters in ways so unlike the previous interpretations that the play (and the play within the play) shift from comedy to tragedy to farce to…it’s just an idea.
“You need three things in the theater—the play, the actors, and the audience—and each must give something.” Kenneth Haigh
I am one who laughs uproariously at things in movies and plays that other people tend not laugh out loud about. (I am thinking of movies such as Young Frankenstein and A Thousand Clowns.) Combine this tendency with the fact that I am my own biggest fan—I just love what I create—and you will understand why I have several times boldly proclaimed to Sandra, “Oh, that will get a big laugh.” To which she has wisely responded, “Audiences for staged readings tend to be small, and small audiences tend not to laugh very much.” Darn. Even so, I feel Milo & Angel, for all the tragedy it contains, is very funny, too. Just like life.